① 有哪些好的英文電影值得一看
說到英文電影，我覺得恐怖系列的《死亡錄像》帶就是一部非常好的英文電影，這個電影跟其他的僵屍類型電影題材雖然一樣。但是，但是他所採用的這種製成的效果跟其他的是不一樣的，主要是應用鏡頭的抖動感，給人一個恐怖的感覺，然後一段一段的錄音記錄著每一個人不同的死法。這樣英文電影一定很有意思，值得一看。
② 好看的英文電影有哪些
提到英文電影，我在腦海中快速檢索後閃過的第一部電影是——《社交網路》。
所以看到「英文電影」這種問題時我的第一反應就是這部《社交網路》——因為在這部電影里，你將聽到超過其他電影三倍以上的英文台詞！
③ 關於電影的英語作文
還是寫經典的比較好，新上映的別人不熟悉呀
④ 求有關電影方面的英語
direction 導演
proction 製片
adaptation 改編
scenario, screenplay, script 編劇
film star, movie star 電影明星
star, lead 主角
double, stand-in 替身演員
stunt man 特技替身演員
extra, walker-on 臨時演員
character actor 性格演員
regular player 基本演員
extra 特別客串
film star 電影明星
film actor 男電影明星
film actress 女電影明星
support 配角
util 跑龍套
adapter 改編
scenarist, scriptwriter 腳本作者
dialogue writer 對白作者
proction manager 製片人
procer 製片主任
film director 導演
assistant director 副導演，助理導演
cameraman, set photographer 攝影師
assistant cameraman 攝影助理
property manager, propsman 道具員
art director 布景師 (美作:set decorator)
stagehand 化裝師
lighting engineer 燈光師
film cutter 剪輯師
sound engineer, recording director 錄音師
script girl, continuity girl 場記員
scenario writer, scenarist 劇作家
...
⑤ 電影的類型有什麼我要英文的
Film Genres
I INTRODUCTION
Film Genres, categories of film characterized by frequently recurring patterns of form, style, and, particularly, subject matter. There is no clear consensus among film historians and critics on the number of genres, or on the line of demarcation between one genre and another. This must be borne in mind when considering the following list of major genres: Adventure; Biography; Comedy; Drama and Melodrama; Fantasy/Horror/Science Fiction; Gangster/Crime/Spy/Film Noir; Musical; Problem Picture; War; Western. Some commentators would argue that the category 「Gangster/Crime/Spy/Film Noir」 clearly incorporates two, if not more, distinct genres, as it could be seen to include films as diverse as The Maltese Falcon (John Huston, 1941) and Sunset Boulevard (Billy Wilder, 1950). Similarly, the old instry category 「Women's Pics」 straddles at least two classifications: Film Noir and Melodrama. Only the Hollywood cinema has been considered. Obviously, genres exist in the popular cinemas of other countries, although, apart from such clear-cut exceptions as samurai films of Japan or kung fu pictures from Hong Kong, the categories applied are normally derived from Hollywood. Clearly there are interesting differences between, say, a British crime film and an American example, but on the whole these have yet to be studied. Differences between genres tend to be identified more in terms of themes, stars, use of costumes, and settings and locations, than in terms of specific aspects of film-making practice such as editing.
II HISTORICAL PERSPECTIVE
In the days of the studio proction lines, placement of films within genres tended to be part of the thinking of studio executives in their decisions about proction and marketing policy, and were reiterated in the trade papers. Thus, notions about many film genres actually preceded explicit critical analysis. While critical accounts of a film genre tend, appropriately, to be descriptive, the same ideas in the mind of a procer or accountant are often prescriptive, based on a notion of what audiences will find acceptable in, say, a Western.
When critics started to analyse Hollywood films in depth, this link with the collective, entertainment, money-making aspect of the proction system, rather than its initially unrecognized personal, artistic dimension, contributed to an emphasis on the negative aspects of the genres, for example, the limits their conventions imposed on creativity. However, as Colin McArthur argued in his pioneering genre study Underworld USA (1972): 「the responses of film-makers and audiences to the genres seem to offer a good prime facie case for believing that they are animating rather than neutral, that they carry particular charges of meaning independently of whatever is brought to them by particular directors.」
Certainly, it seems unlikely to be coincidence that much of the finest work of Howard Hawks, John Ford, Anthony Mann, and, more recently Clint Eastwood, has been in the Western genre. Nevertheless, only minor or mediocre directors can be said to be defined by their relationship to a genre, and each of the four cited has inflected the genre in significantly different ways, both stylistically and thematically, as well as having done important work in other genres.
III DEVELOPMENT OF GENRES
Clearly film genres change over time as society, the audience, and the institutions of proction change. New stars come along, new themes emerge, new conventions of characterization evolve. The exact nature of these shifts is largely outside the conscious awareness of those responsible for bringing them about, however. The procer, director, writer, and star tend to think in terms of decisions that will make a work more interesting, or generate a more compelling star role, rather than how to modify the genre in response to shifts in society.
Some points relating the development of particular genres to changes in film technology are simple and obvious: there is nothing incongruous about a silent Western, and the genre has been on the screen since The Great Train Robbery (1903, directed by Edwin S. Porter), but the idea of a silent musical is obviously ridiculous, despite the fact that live musical accompaniment ensured that most cinemas were never really silent. Similarly, continually improving techniques for special effects have given new life to the Fantasy/Science Fiction/Horror genre, from 2001: A Space Odyssey (Stanley Kubrick, 1968) on through Star Wars (George Lucas, 1977), and Close Encounters of the Third Kind (Steven Spielberg, 1977) to the cycle of Alien films (Ridley Scott, 1979; James Cameron, 1986; David Fincher, 1992).
Popular films are not a simple reflection of the society that proced them: they are complex texts, systems of discourse certain strands of which bear traces of particular features of the society that generated them. Exactly what mechanisms are involved, however, varies from case to case, and may often be impossible to tease out. Thus, comparisons made between characteristics of the indivial genres, or between one era and another, must be provisional and tentative.
For example, in the 1930s, the great period of the gangster film, there were few major Westerns, and those there were came at the start and end of the decade. In the era of classic Hollywood cinema (from the late 1920s to the decline of the studio system around 1960) both these genres regularly involved conflicts between good and evil.
However, perhaps because part of the gangster film's concern was to indicate the social origins of crime, it is typically the gangster's journey the audience follows, and thus there is strong, if only partial, identification with him. His refusal to accept the restrictions of the urban environment, together with the energy of his indivialism, made him a dangerously fascinating, possibly sympathetic, character when contrasted with the less colourful representatives of law and order.
Indeed, this patina of charisma has persisted through to the present. It is part of the complex appeal of The Godfather series (Francis Ford Coppola: Part I, 1972; Part II, 1974; Part III, 1990), inviting the audience to collude with the actions of Michael Corleone. In the more pastoral world of the classic Western, on the other hand, the hero may have been a loner, but he normally represented the best values of the community. Moreover, it was his progress the audience followed, and thus it was he with whom it identified. Consequently, he was the one with charisma, rather than the villain, whose ultimate defeat and death were not mourned in the same way as the classic gangster's.
Though attempts to specify precisely where Western and gangster genres fit in an overall account of the generic categories of popular cinema are likely to generate academic controversy, all commentators agree on their existence as genres. This makes them appropriate choices for the accounts of generic difference and change given above. Though much has been left out, this is an example of the kind of analysis that can be made in relation to other genres.
⑥ 寫一個關於你喜歡什麼電影是什麼類型是關於什麼的英語作文
My favourite film
Do you know Harry Potter? It』s one of
my favourite films and it』s an magical film. I don』t know who plays it but I
know it』s written by J.K.Rowling.
As you know Harry Potter is a magical
school student who wears glasses and has no parents ,now he is 16 years old .He
is very brave and known by everyone because he is the only person who didn』t
die by devil.At school,he has two good friends,they are Rone and Henry.
When I see this film,I feel very
excited and interesting.So I see it again and again,every time I have different
feelings,sometimes I even feel as if I』m Potter.
Do you like Harry Potter? If you haven』t see it yet,read it now and
you』ll find a wonderful world.
⑦ 有哪些種類的電影（用英語表達）最好能舉幾個相應的例
action movies 動作片
documentaries 紀錄片
thrillers 恐怖片
comedies 喜劇片
romance 愛情片
science fiction movies 科幻片
⑧ 哪些英文電影在英文學習方面比較經典啊
如果說你想練口語的，而且是英式發音的話我建議《哈利波特》系列是不錯的選擇，學習英語，我個人覺得不在於看電影有多少，而是你要看懂，不去看中文字幕，看自己是否聽得懂。我建議是最好下載那些有中英雙字幕的，這樣有助於你英語學習。
⑨ 寫一篇關於電影方面的英語作文 內容包括主要內容和人物
I like movies very much. My favorite movie is 「Love Me Once More, Mom」. This is a moving story about a mother and her son.. The son was lost one day and the mother was so worried that she looked for him everywhere, but she couldn』t find him. She was very sad and almost went mad. I think it is a wonderful movie. It is so moving and sad that I ever cried over and over again. How I wish to watch it again.
我非常喜歡看電影.我最喜歡的電影是《媽媽再愛我一次》.這是一個關於媽媽和她兒子的故事.兒子有一天失蹤了,媽媽非常著急,到處尋找他,但沒能找到.她非常悲傷,幾乎要瘋了.我認為這是一個非常精彩的電影.這部電影非常感人,我都哭了好幾次.我多麼希望能再一遍.
